
THE MAN WITHOUT A 
COUNTRY 

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The Man Without a 
Country 

An Entertainment in Six Scenes 



Freely Adapted from Edward Everett Hale's 

Celebrated Story for Present 

Patriotic Purposes 



By 
GLADYS RUTH ^RIDGHAM 

Author of '* Leave it to Polly,'' "A Regular Scream," "-Not on 

the Programme y "A Modern Cinderella,'' ''On the Quiet," 

' 'A Regular Rah / Rah I Boy, ' ' ''Sally Lunn,' ' "Six Times 

Nine," ''Cupid's Partner," "Her First Assignment," 

"A Case for Sherlock Holnies," " Ri7ig-A?'ou}id-a- 

Rosie," "Three of a Kind," "The Turn in the 

Road," "The Queen of Hearts," etc. 



BOSTON 

WALTER H. BAKER & CO. 
1918 



^f:^* 



^'^W^< 



f^V"^ 



The Man Without a Country 



CHARACTERS 



The cast of characters belonging to each scene will be found at 
the beginning of the scene. Some of the leading characters ap- 
pear in all the scenes ; all of the minor characters in the different 
scenes may be represented by the same people by " doubling." 
Forty-six male and five female speaking characters in all are 
called for, but this number may be greatly reduced in perform- 
ance, as above. 

SCENERY 

The locality of the several scenes need only be suggested by 
appropriate furniture and properties and the simplest backgrounds. 
One set of ship scenery only is required, as its component items 
may be shifted about, as suggested in each scene, to represent dif- 
ferent ships. The scenery is unimportant ; the patriotic spirit of 
the lines and incidents will make such matters of small moment. 

SYNOPSIS 

Scene i. — Room in Fort Sumter, April, 1861. 

Scene 2. — Deck of U. S. Frigate, Paul Revere, April 12, 1861. 

6V^«<? J.— Deck of U. S. Frigate, Resolute, 1871. 

Scene 4. — Deck of a U. S. Torpedo-boat Destroyer, May, 1898. 

Scene s.—Dtz\ of a U. S. Scout Ship, 1916. 

Scene (^.—Nolan's quarters on Scout Ship, May li, 1918. 




Copyright, 191 8, by Gladys Ruth Bridgham 

Free for amateiir performance. Professional and 
moving picture rights reserved. 

DEC -6 1918 

©CI.D 50802 



The Man Without a Country 
SCENE I 



CHARACTERS 



Major Anderson, president of Court Martial, 

Judge Advocate. 

Eight Officers. 

Orderly. 

Guard. 

Lieut. Philip Nolan, the prisoner. 

Lieut. Austin Hastings, a witness. 

(Nolan and Hastings are represented as being 
about twenty -one years old.) 



The Man Without a Country 



SCENE I 



SCENE. — A room in Fort Sumter, April, 1861. This 
may he a plain room or on a stage where it is possible 
a more elaborate plan of a casement may be carried 

■ out. There are exits c. and R. A long table stands 
at R. c. of room with plain wooden chairs, one at head, 
one at foot and four on each side ; another chair down 
L. and another at l. near wall. A good effect is obtained 
by having the room rather dark, bayonets with lighted 
candles in them stuck in the table. 

{As the curtain rises the Court Martial is in session. 
Major Anderson sits at head of table as President 
of the Court Martial; four Officers sit at each side 
of table; Judge Advocate at the foot, half back to 
audience. An Orderly stands by door c. Lieut. 
Philip Nolan, the prisoner, stands l. c, facing 
Judge Advocate. A guard stands in the back- 
ground a short distance from Nolan.) 

Judge Advocate (to Nolan). Lieutenant Nolan, as 
Judge Advocate of this Court, I strongly advise you, for 
your ow^n good, to change your attitude toward this 
Court. You are on trial as a traitor to your country. 
You do not seem to realize the solemnity nor the serious- 
ness of this occasion. The evidence is entirely against 
you and yet you say nothing in your own behalf. 

Nolan (haughtily). I have nothing to say. 

Adv. You are making a grave mistake. That will do. 
(Nolan takes chair by wall; his attitude is of sidky in- 
difference. Judge Advocate to Major Anderson.) 

5 



6 THE MAN WITHOUT A COUNTRY 

There is but one more witness. I ask the Court that he 
may be called. 

Major {consults his notes; to Orderly). Call Lieu- 
tenant Hastings. 

(Orderly exits c. ; reenters, followed by Hastings. 
Hastings salutes Court and takes position l. c. 
Adv. takes Bible from table, reaches it across table 
to Hastings. Hastings steps toward table r., 
glove off, hand on Bible, and takes oath.) 

Adv. (rises; speaks rapidly). You, Lieutenant Austin 
Hastings, do solemnly swear that the evidence you give 
before this Court shall be the truth, the whole truth and 
nothing but the truth ? (Hastings bows, hand down, 
steps back. Adv., to witness.) You know the prisoner? 

Hastings. I do. 

Adv. How long? 

Hastings. Twenty years. 

Adv. Good friends? 

Hastings. Couldn't be better. 

Adv. You understand the charge against Lieutenant 
Nolan? 

Hastings. I do. 

Adv. I called you. Lieutenant Hastings, in behalf of 
the prisoner, who refuses to speak for himself. I wish 
to go back to your boyhood friendship with him and 

Major A. (interrupting). I see no reason for this. 
The Court is not interested in the early life of the 
prisoner. 

Adv. (to Major A.). I only wish to bring before the 
Court the causes which have led up to the unfortunate 
position in which the prisoner is now placed. 

Major A. I cannot see why the Court should be 
burdened with such a recital. It is the thing which has 
happened, not the reasons thereof with which the Court 
is concerned. The prisoner makes no effort to excuse 
his conduct. Why should we trouble ourselves with ex- 
tenuating circumstances which might possibly be excuse 
for his conduct? He is either guilty or not guilty of 
this offense. H he is guilty there is no excuse which 
will avail him anything. 



THE MAN WITHOUT A COUNTRY 7 

Adv. (quickly to witness). Step aside if you please. 
(Hastings salutes and takes chair down l.) 

Major A. (to Nolan). Prisoner! (Nolan, with a 
bored expression, rises and steps forward.) You have 
been false to your flag, to the uniform you wear, to your 
country to which you swore on your faith as a Christian 
to be true — the country which has fed and clothed you 
and given you the sword which you have worn. I give 
you one more chance to speak. To convince us that you 
intended to be faithful to the United States. 

Nolan. D — n the United States! I wish I may 
never hear of the United States again! 

{All spring to their feet and look at Nolan in horrors- 
there is a moment of deadly silence.) 

Major A. (to the Court). Gentlemen, I ask you to 
retire with me to prepare sentence on the prisoner. 

(Orderly opens door r. ; the Court files out. Nolan 
stands looking after them, beginning to realize what 
he has said.) 

Hastings (steps toward Nolan and speaks in half 
whisper) . My God, Phil ! What have you done ? 

Nolan (trying to cover nervousness). I don't know 
nor care. They have goaded me to it with their ever- 
lasting dribble about " your country — your country — 
your country " ! What kind of a country have we got ? 
Look at the situation to-day ! One more spark will 
kindle the fire and we stand a country divided instead of 
united and — (with a sarcastic laugh) then we don't 
stand — we fall ! 

Hastings. Don't you believe it for half a minute. 
We stand not only to-day but forever. A few disloyal 
hearts will never tear down the flag of our ancestors. 
Men of your stamp may try but they never will succeed. 

Nolan. Austin, do you believe with the rest that I 
have a disloyal heart? 

Hastings. What else can I believe? I have known 
you from boyhood and I thought I knew your heart as 
well as my own. I thought your motives had been mis- 



8 THE MAN WITHOUT A COUNTRY 

understood. That back of it all you were true— but 
now — now I see why you didn't speak. 

Nolan. No, no, you are mistaken ! I wouldn't speak 
because I thought they should have seen for themselves. 

Hastings. In face of all the evidence against you? 

Nolan. Circumstantial. 

Hastings. Did any one prove that to the Court? 

Nolan. Austin, it isn't possible that you are going to 
turn against me ? Just for a few hasty words ! You, the 
most loyal friend I ever had ! 

Hastings. What else can you expect? An officer's 
most loyal friends are his sword, his flag, his country. 
One by one you have let these slip from you. Is it 
strange that mere man should go, too? (Turns away.) 

Nolan (aghast). Austin! 

(Orderly opens door r. ; Court enters and take places. 
Hastings stands down l., facing Court, Nolan 
changes his attitude and regards Court with a sar- 
castic smile.) 

Major A. Prisoner! (Nolan steps to position, 
throws his head back and looks at Major A. defiantly.) 
Prisoner, hear the sentence of the Court. The Court de- 
cides, subject to the approval of the President, that you 
never hear the name of the United States again. 

(Nolan gives a ringing laugh but Hastings, realizing 
what the sentence means, lets his hand fall to his 
sword, closes his eyes and puts the other hand to his 
throat as if stifling. ) 

CURTAIN 



SCENE II 



CHARACTERS 

Capt. Bigelow. 

Lieut. Haines. 

Lieut. Norfolk. 

Lieut. Orville. 

Lieut. Mason. 

Lieut. Austin Hastings. 

Ensign. 

Captain's Boy. 

Guard. 

Sailor. 

Sam, an Atnerican sailor. 

Jack, a British sailor. 

Philip Nolan. 



SCENE II 

SCENE.— /^ portion of the deck of the U. S. Frigate 
*' Paul Revere," April 12, 1861, off the coast of South 
Carolina. In the background, deck rail and rigging; 
dozvn L. cabiti door; at r., deck rail turns off and leads 
dozvn R., supposed to lead to stairway to lower deck. 
A Sentry paces the deck at regidar intervals. 

{As curtain rises Jack, a British sailor, leans on the 
rail L., looking out to sea. Sam, an American sailor, 
enters r.) 

Sam {to Jack). See anything out there, mate? 

Jack. Not Hi ! Hall's serene. 

Sam. Jest the calm before the storm, mark me ! 

Jack. Hi never knowed the Hamericans could set 
calm in the face o' ha storm. Blow me, if Hi don't think 
them fellers 'ave starved to death hout there. 

Sam. Well, I did hear as how they ain't nothing left 
but pork and water, but belay me, if I don't think old 
Andy would hold Fort Sumter on nothing but water. 

Jack. W'y don't 'e do something 'stead o' sit han 
starve ? 

Sam. He'll do all right when the time comes. Let 
'em fire on him and you'll see. 

Jack. I 'ope I will. Hit's your hown mess this time. 
We hain't in it but I'd jolly well like to see hit ! 

Enter Capt. Bigelow, r. 

BiGELOW {steps to rigging and looks up). Lookout! 
Voice {above). All quiet, sir. 

Enter Lieut. Haines and Lieut. Norfolk from down l. 

BiGELOw^ {to Haines). My compliments to Lieu- 
tenant Orville and Lieutenant Mason, and I would like 
to see them here immediately. You will return with 
them. 

(Haines exits down l.) 
10 



THE MAN WITHOUT A COUNTRY II 

Norfolk. Anything new in regard to the sailing or- 
ders, sir? 

BiGELow. No. We shall be under way shortly. It 
is Mr. Nolan I wish to speak of. 

Norfolk. Oh, the government's prisoner you were 
telling us about. Didn't you say he would be delivered 
to you before we sailed? 

BiGELOW. Yes. I have received my orders from the 
Secretary of the Navy. The prisoner will doubtless be 
brought aboard within the hour. (Haines reenters from 
down L., followed by Lieut. Orville and Lieut. Mason.) 
I have here, gentlemen, a document which I would like 
you to listen to. (Reads.) '* Washington, April 6, 1861. 
Sir: — You will receive from Lieutenant Hastings the 
person of Philip Nolan, late a Lieutenant in the United 
States Army. This person on his trial by court martial 
expressed with an oath the wish that he might never 
hear of the United States again. The Court sentenced 
him to have his wish fulfilled. For the present, the ex- 
ecution of the order is intrusted by the President to this 
department. You will take the prisoner on board your 
ship, and keep him there with such precautions as shall 
prevent his escape. You will provide him with such 
quarters, rations, and clothing as would be proper for an 
officer of his late rank, if he were a passenger on your 
vessel on the business of his Government. The gentle- 
men on board will make any arrangements agreeable to 
themselves regarding his society. He is to be exposed 
to no indignity of any kind, nor is he ever unnecessarily 
to be reminded that he is a prisoner. But under no cir- 
cumstances is he ever to hear of his country or to see any 
information regarding it; and you will specially caution 
all the officers under your command to take care that, in 
the various indulgences which may be granted, this rule, 
in which his punishment is involved, shall not 'be broken. 
It is the intention of the Government that he shall never 
again see the country which he has disowned. Before 
the end of your cruise you will receive orders which will 
give effect to this intention. Resp'y yours, Gideon 
Welles, Sec'y of the Navy." 

Norfolk (with a long breath). What a sentence! 



12 THE MAN WITHOUT A COUNTRY 

BiGELOW. No more than he deserves. He has cursed 
his country. Infamous at any time, how much worse 
to-day when we face the crisis of a Civil War, and loyaky 
to flag and country should be paramount in the heart of 
every man, officer or civilian. 

Haines. It seems as if it would be rather hard to 
carry out the orders, sir. 

BiGELOW. Doubtless embarrassing situations will arise. 
We shall have to become accustomed to having him with 
us, and learn to guard our speech in his presence. 

Voice {off r.). Ahoy! Revere ahoy! Stand by 
the gig! 

Haines {steps to rail at R. and looks down). A gig, 
sir. 

BiGELOW. The prisoner ? 

Haines. I think so. 

{An Ensign enters r., and the Captain's Boy enters 
from down l.) 

Ensign. Lieutenant Hastings, sir. 

Enter Hastings, r., followed by Nolan. Nolan wears 
a plain blue uniform with plain buttons; he is fol- 
lowed by a guard and one of the crew with his 
luggage. 

Hastings {salutes Bigelow. Bigelow and his of- 
ficers return salute; officers withdraw to one side). 
Captain Bigelow, by order of the government I deliver 
to you Mr. Philip Nolan. (Nolan salutes.) 

Bigelow {to Captain's Boy). Show Mr. Nolan to 
his quarters. 

(Boy leads way to cabin door; Nolan follows and 
enters cabin, followed by man with his luggage. 
Man immediately reenters and exits R. ; Nolan's 
guard remains by r. entrance.) 

Hastings. You have received your orders in regard 
to the prisoner? 

Bigelow. I have. 

Hastings. Then there is nothing more for me to say. 
I wish to go at once without a word to Mr. Nolan. We 



THE MAN WITHOUT A COUNTRY I3 

were boyhood friends. This has been very hard for me 
to do. 

BiGELOw. I can well understand that, sir. 

{They salute; the other officers salute Hastings. 
Hastings exits r., followed by guard. Ensign 
follows. ) 

Haines {to Bigelow). Did you notice the buttons 
on Mr. Nolan's uniform? No initials or insignia! Per- 
fectly plain! 

Bigelow. Yes. Lieutenant Orville, call the crew to- 
gether and give instructions regarding the prisoner. 

(Lieut. Orville exits r. ; the officers gather about the 
deck rail talking together; Nolan enters from cabin. 
Call for '' assembly " is heard off stage. ) 

Nolan {looks about). Where — where is Lieutenant 
Hastings ? 

Bigelow. Gone, sir. 

Nolan. Gone ? ( Quickly passing it off. ) Of course. 
He had urgent business elsewhere. Are we about to go 
on a long journey? 

Bigelow. To the Cape and then up the Indian Ocean. 

Nolan. Fine! I have always wanted to travel. 
How fortunate I am ! 

{There is a sound of cannon in the distance.) 

Bigelow. What is that? {Listens for a second; 
calls to lookout.) Lookout! 

Voice {from above). Firing on Fort Sumter, sir! 
Bigelow. And that means war! 

{The officers at the rail are very much excited; Bige- 
low steps toward them.) 

Nolan {hurrying after Bige-low). Captain Bigelow! 
(Bigelow turns.) Signal Lieutenant Hastings to re- 
turn ! 

Bigelow {surprised) . What do you mean, sir? 

Nolan {excited and not realizing what he is saying). 



14 THE MAN WITHOUT A COUNTRY 

He mustn't leave me here ! I am an officer and my coun- 
try is at war! 

BiGELow (slowly). You forget, Mr. Nolan, that you 
have no country ! 



CURTAIN 






i\kvl 



SCENE III 



CHARACTERS 

Capt. Ingram. 

Lieut. Breene. 

Lieut. Dunstan. 

Lieut. Morris. 

Lieut. Nelson. 

Joe, Bill, Jim, and one or two extra sailors. 

Captain's Boy. 

Philip Nolan. 

Colored Musicians. 

Mrs. Hayford 

Alice Philbrook 

Miss Livingstone \ Guests. 

Miss Austin 

Miss Greyson 

Several British officers and their wives. 

(Nolan is thirty-one. \ 



SCENE III 

SCENE. — Aboard the ''Resolute/' ten years later, in 
the Bay of Naples. Remove cabin, extend deck rail 
down R. ; overhead decorations, strings of flags and 
Japanese lanterns; deck rail festooned with bunting; 
stools and buckets covered with flags of different 
nations. 

(As curtain rises, a number of the crew are at work 
on the decorations under the direction of Lieut. 
Breene, Lieut. Dunstan, and Lieut. Morris. 
Breene and Dunstan are young officers; Morris a 
few years older. ) 

Lieut. Breene (looking up and calling). Joe ! * Avast 
there, Joe! 

Joe (calling down from above). Calling to me, sir? 

Breene. Yes. You are fastening that line of lan- 
terns too high. Lower it about two inches. 

Joe. Ay ! Ay ! sir. 

Lieut. Dunstan (discovering flags on the stools and 
buckets). Well, look at this! Who draped these 
buckets ? 

Bill (stepping forward). I did, sir. 

Dunstan (pointing to the flags). Don't you know 
any better than that? 

Bill. I don't see what's wrong, sir. 

Dunstan. Well, take a lesson right now. You have 
draped those buckets with flags. 

Bill (quickly). Not ours, sir. 

(Morris and Breene laugh.) 

Lieut. Morris. Good old Yankee Bill! 

Dunstan (to Morris). I beg of you, sir, don't in- 
terrupt when I am doing my best at instructing the crew. 
(To Bill.) Take those flags up. They represent na- 
tions and some one might sit on them. Do you under- 
stand now? 
i6 



THE MAN WITHOUT A COUNTRY I7 

Bill. Yes, sir. 

{Gathers up the flags; another of the crezv winds 
bunting about the stools and buckets in place of the 
flags.) 

DuNSTAN {calling to Bill, who is about to exit with 
flags). Here! You have forgotten Germany! 

(Bill returns; Dunstan turns to Breene and Morris; 
they stand talking together.) 

Bill {to one of the crew as he takes up German 
flag). I jest as soon they'd sit on this one. My mother- 
in-law is a German and if the rest of their nation is hke 
her! 

Jim. 'Tain't right ter jedge, Bill, an' we ain't no scrap 
on jest now with any nation. 

Bill. Well, if we ever have one with this feller 
{shaking the German flag), I hope they puts me in the 
front row. [Exit down r. 

{It is gradually growing dusk. Lieut. Nelson, a 
senior officer, enters from down l.) 

Dunstan {turning to Nelson). How do we look, 
sir? 

Nelson. Wonderful ! I wouldn't have believed it 
possible. 

Dunstan. We may not have the handsomest ship 
that our country can boast, but we are going to do our- 
selves proud at our first ball. 

Morris. What is to be done about Mr. Nolan ? Does 
any one know? 

Nelson. Yes. Captain Ingram thought he should be 
invited. He told Mr. Nolan what we were going to do 
and asked him to be present. 

Morris. What did Nolan say? 

Nelson. Made an excuse and was about to decline, 
but Captain Ingram said something about our needing 
his room. 

Dunstan. I bet that settled it. 

Nelson. Yes. Poor Nolan is pathetically anxious 
to do things for us. 



1 8 THE MAN WITHOUT A COUNTRY 

Morris. And so he is to be one of us to-night. 

Breene (looking down r.). Careful, gentlemen! 
He is coming. 

Nelson (quickly stepping forward and looking about 
as Nolan enters from down r.). Mr. Nolan, we await 
your congratulations. 

Nolan (looks about with interest). Accept them, sir. 
Your labor has its reward. (To Morris, Breene and 
DuNSTAN.) Good-evening, gentlemen. 

(They return his greeting.) 

Breene. I'm all excited up over this affair. I haven't 
danced in a year, and I haven't seen a young lady in 
several months. 

Nelson. Ah, that's the excitement, my lad ! It's not 
the dancing. It's the partner. Thank heaven, Nolan 
and I are growing past the age. 

Dunstan. Does any one happen to know whom our 
partners are to be? 

Nelson. Why, yes. Wives of some of the British 
officers. 

Breene. Wives — only ? 

Nelson. Oh, a daughter or two, I assure you. 

Breene. Ah ! That sounds more like it. 

Morris. I heard the British Consul and his wife were 
among the guests, and the — er — (stops embarrassed) 
er — Mr. Hayford and his wife. 

Dunstan. Really? The charming Miss Reynolds! 
And they say she has never lost her charm. 

Nolan (interested). I used to know a Miss Reyn- 
olds. She was charming indeed. I wonder if it might 
be the same? 

(He looks from one to the other of the officers; they 
are silent.) 

Dunstan (suddenly, to relieve the situation). Oh, 
Mr. Nolan, I have a book for you I 

Nolan. Have you? That is good news, I am sure. 

Dunstan (slipping his hand inside his coat). It's a 
little thing. I slipped it inside my coat. (Hands a 
small book to Nolan.) A friend sent it to me, and the 



THE MAN WITHOUT A COUNTRY IQ 

minute I opened it I said, " That's the very kind Nolan 
swallows whole." 

Morris. Open it up, and let's hear what it's about. 

Breene. Yes, for heaven's sake read, Mr. Nolan, and 
save my sanity. I never could dance and I can think of 
nothing but the coming ordeal. 

(The officers laugh.) 

Nelson. The lad actually expects us to accept that 
as plausible excuse for his nervousness. 

Nolan {to Dunstan). This came in the mail? 

DuNSTAN. Yes. 

Nolan (eagerly). And newspapers? 

Dunstan. Not one to-day. 

Nelson. Therefore we are dying to hear something. 

Nolan. I'm always delighted to read, as you well 
know, but — (glancing about) I'm afraid the light 

Breene (calling). Joe! 

Joe (who is just climbing down the rigging). Right 
here, sir. 

Breene. Light up. These first. (Leads way to 
deck rail where some of the lanterns are fastened.) Sit 
over here, Mr. Nolan. These lights are low enough. 

(Joe begins to light the candles in the lanterns.) 

> Nolan (sits on stool under the lanterns; Nelson and 
Morris sit near; Breene and Dunstan lean on the rail). 
This does look good. (Turns over some pages.) Sir 
Walter Scott. His things are always fine. There won't 
be time for all of this before the guests arrive. (Passes 
book to Nelson.) You take it, sir. I will read where 
you open. 

Nelson. Very well. I'm always a success at taking 
chances. I promise you the best in the book. 

(Opens book and passes it back to Nolan; as Nolan 
reads, Joe lights the lanterns one by one; off stage, 
very faintly, the tinkling music of mandolins is 
heard and a voice singing a Venetian boat song.) 



20 THE MAN WITHOUT A COUNTRY 

Nolan {reads from hook). 

" After due pause, they bade him tell, 
Why he, who touched the harp so well, 
Should thus, with ill-rewarded toil, 
Wander a poor and thankless soil. 
When the more generous southern land 
Would well requite his skillful hand. 

The Aged Harper, howso'er 
His only friend, his harp, was dear. 
Liked not to hear it ranked so high 
Above his flowing poesy; 

Less liked he still, that scornful jeer 
Misprized the land he loved so dear; 
High was the sound, as thus again 
The Bard resumed his minstrel strain. 

Breathes there the man, with soul so dead, 
Who never to himself hath said — 
This is my own, my native land ! " 

(Nolan stops with a gasp; the officers look at each 
other with desperation. Nolan, with an effort, re- 
sumes the reading.) 

"If such there breathes, go — mark him well — 
For him no minstrel raptures swell, 
High though his titles, proud his name, 
Boundless his wealth as wish can claim. 
Despite these titles, power and pelf. 
The wretch concentered all in self — living 
shall die." 

(Nolan jumps to his feet with a choking cry, throws 
the hook over the deck rail and exits down l.) 

Morris {looking after Nolan). Well, that's what I 
call — what I call 

Nelson. Don't try to call it anything, Morris. There 
aren't words to describe a thing like that. 



THE MAN WITHOUT A COUNTRY 21 

Breene (to Dunstan). In heaven's name why did 
you give him that book? 

Dunstan (indignantly). I didn't know what it was. 
Do you suppose I v/ould do a thing to hurt that poor 
wretch ? 

Nelson. Certainly not, any more than the rest of us. 
It is ahnost impossible to guard against everything. 

Morris. I should say it was. I couldn't get used to 
this in a hundred years. I all but said American Consul. 

Nelson. The Consul's wife is the very one Nolan 
used to know. I look for trouble before this night is 
over. 

Breene. We won't see Nolan again to-night. 

Nelson. Yes, you will. He'll see it through. He 
living dies. He couldn't have read truer words, but 
he'll see it through to the end. 

Enter Capt. Ingram from down r. 

Morris. I think you are right, but just the same we 
well may feel apprehensive about this evening's affair. 

Ingram (approaching). Why, may I ask? I should 
say we faced a great success. 

Morris. We were speaking of Mr. Nolan, sir. 

Nelson. It seems he used to know Mrs. Hayford 
before she was married. There may be others he has 
known. What are we to do? Of course it isn't likely 
that every one understands the situation. 

Ingram. True. One of us must stay near Nolan 
throughout the evening. I couldn't think of such a thing 
as not inviting him to attend. I feel quite sure you all 
like him as well as I do myself. Personally, gentlemen, 
I think Mr. Nolan has paid the penalty. 

Breene. Several times over. 

Dunstan. Ten years without a word of home, and 
he may live fifty more ; who can tell ? 

Morris. It is almost beyond comprehension. Has 
there never been an effort to have him pardoned? 

Ingram. I think not. He was delivered to me as 
you see him now, but I tmderstand that during the first 
five or six years he tried to brave it out by pretending 



22 THE MAN WITHOUT A COUNTRY 

that he enjoyed traveling and was fortunate to have such 
a chance. 

Voice {offstage). Resolute ahoy \ 

The Crev^ (off stage). Ay, ay, sir! All ready, sir! 

Ingram. Our guests I 

[Exits down r., followed by the others. 

DuNSTAN (with a hand on Breene's shoidder as they 
exit). Now for it, old chap! 

(Several colored musicians enter from down l., get 
their places, tune up and so forth. Breene and 
Alice Philbrook enter from down r. ; Alice is 
very young and very pretty; the light complexioned 
fluffy kind of a girl in a pink evening gown. ) 

Alice. Oh, Mr. Breene, I'm so excited ! 
Breene. Yes, so am I ! That is — I mean 

(Stops, embarrassed.) 

Alice. I never was on a ship like this in all my life. 
Isn't it lovely? (Smiles up at him.) 

Breene (fervently, gazing down at her). Isn't it? 

Alice. I am sure if I was a man I would follow the 
sea. (Nolan enters down l.) Oh, it must be wonder- 
ful to be you! Don't you feel just brimful of pride? 

Breene. Over myself? Miss Philbrook! 

Alice. Why not ? No man in the world has so good 
a right to be proud of himself as the one who v^ears a 
uniform with honor to his flag and country. (Catches 
sight of Nolan, who turns and exits.) Oh, Mr. Breene, 
who is that? 

Breene. Who? Where? 

Alice (looking down -l.). Over there. He was com- 
ing this way but he turned back. 

Breene. Oh, that is— er— that is— just a— a pas- 
senger. 

Alice. He is the saddest looking man I ever saw. 
He looks as if he hadn't a friend in the world. 

Breene (looking after him). I'm afraid he feels that 
way. (Abruptly changes subject.) Miss Philbrook, 
will you dance with me ? The first, I mean ? 

Alice. I'd love to. Where do we dance? 



THE MAN WITHOUT A COUNTRY ^3 

Breene. Right here. 

Alice. Really! What fun! 

(Music starts-a dreamy zvalt,. Officers enter from 

^ dolTalso extra visiting officers and their wives 

and daughters.) 
Leader of Band. The waltz, gentlemen and ladies ! 
(ThP 'bouncer officers and ladies dance Capt. In- 

pZtZrs come together near the front of stage.) 
Miss Livingstone. Isn't this glorious? 
mIss Austin. Heavenly!. Such a night! 
■ Miss Greyson. Such music! c:„rh mrt- 

Mrs Hayford {bowing to the officers). Such pait 

I'll wager ^^'''K^j?,-, 

o„,c„s <,g.*), „r~.. .-vrr sT' " 

T pft Behind Me ! Miss Livingstone, a rose ! 

Miss L (/ai^.. a rose from her dress and hands it to 
him). You win! I never heard of it. 

Miss G. Oh, can we have it? 

Ladies (delighted). Oh, yes, please! 

Breene. Su'ely I will speak to the leader. ^ 

m^ ^^^9 fo the Band Leader anc/ con^w//^ with htm. 

^ Nolan .nffr' from down l. ; /.. i. followed hy the 
CrPTMN's Boy Ingram notices Nolan ; he glances 
aSfrom the dancers to where V^^^^y^ys talk- 
^^ Uvi' Ingram speaks quickly to the 

Cfpis BiiTNoLAN "o.. Lut lith interest.) 

Alice {to the officers). You will teach us? 



24 THE MAN WITHOUT A COUNTRY 

DuNSTAN. Will we? 

Morris. I rather think we will. 

Leader. Gentlemen and ladies ! The next dance 

{The Captain's Boy touches him on the shoulder and 
speaks to him; the- Leader pauses for a moment embar- 
rassed, then finishes.) Yo' partners, please! 

Nolan (steps toward .Mrs. Hayford). Miss Reyn- 
olds, will you dance with me? 

Mrs. H. I am not Miss Reynolds any longer, Mr. 
Nolan, but I will dance all the same. (She starts to take 
her place wiih Nolan ; notices Ingram's look of 
anxiety.) Excuse me a moment! (Leaves Nolan and 
steps toward Ingram.) Never fear! I understand! 
Leave him to me ! (Joins Nolan ; all take places; music 
starts; the officers instruct the ladies as they dance.^ At 
the close of dance the officers and their partners form 
groups about the deck rail. Nolan leads Mrs. Hay- 
ford tozvard the r. front away from the others; he pidls 
forward a stool for her. ) It's many a day since I danced 
that. 

Nolan. It's many a day since I danced at all. You 
are staying in Naples? 

Mrs. H. (is a little uneasy). Yes. 

Nolan. You hear from England frequently? Your 
brother is still there? 

Mrs. H. Oh, yes. I think he has settled there for 
life. And Louise is married and living in Paris. 

Nolan. They are well, I trust? 

Mrs. H. Yes, thank you. 



NOTE.— "The Girl I Left Behind Me" is danced as follows: There 
are four in a set — lady and gentleman facing each other, another gentle- 
man back of gentleman, and another lady back of lady as follows : 

Gent. Gent. Lady. Lady. 

The couple facing balance, balance again, join hands, dance around to 
right, then around to left, join right hands, change places, join left 
hands, change back; then the gentleman dances past his partner, leaving 
her behind him; then he dances with the lady he is now facing while his 
former partner dances with other gentleman ; now the two couples repeat 
the figures, at the end both gentlemen dancing past their partners leaving 
them behind them. This brings the original outside couple to the inside. 
They dance through the figures, while the original inside couple Stand on 
the outside. At the end, the four come together in four hands around and 
grand right and left. 



THE MAN WITHOUT A COUNTRY 25 

Nolan (leaning forward and speaking in a low tense 
tone). And what do you hear from home? 

Mrs. H. {rising and facing him). Home!! Mr. 
Nolan ! ! ! I thought you were the man who never wanted 
to hear of home again ! ! 

{She walks away; he stands for a second as if stunned; 
then he drops down on the seat she vacated and 
covers his face with his hands; the music starts for 
the next dance.) 

CURTAIN 



SCENE IV 



CHARACTERS 

Lieut. Commander. 

Junior Lieut. 

Ensign. 

Petty Officer. 

Harry ] 

Tom I ?nejnbers of the crew. 

Joe ) 

Philip Nolan. 

Lieut. Mapleson. 

DiGBY, a former member of the crew. 

(Nolan is fifty-eight.) 



SCENE IV 

SCENE. — Deck of a U. S. torpedo-boat destroyer, May, 
i8g8, several miles off the Cuban shore. Run deck 
rail across background and across front on line with 
footlights, making the action between the two rails; 
continue rails off stage, r. and l. ; have them curve 
slightly. 

{As curtain rises, officers and crew are assembled on 
deck; there are four officers, and forty men, in all, in 
crew of a destroyer.) 

Lieut. Com. {to crezv). Boys, Mr. Nolan is leaving 
us to-day. I have sent for him to come to its here, for I 
know you will want to give him a rousing send-off. We 
have asked the government to pardon him, and so we 
hope this transfer will mean he is going home. It is 
thirty-seven years since he has seen his own country. 
Think what it will mean if they grant him amnesty. 

Enter Nolan, l. ; his left hand is bandaged. 

Nolan {to Lieut. Com., glancing about in surprise). 
You sent for me, sir? 

Lieut. Com. Yes. The launch from the Lexington 
is approaching. You are going away from us and we 
want you to know that we shall never forget you. We 
are very grateful for the service you have rendered us 
and for the glory your act of heroism has brought to us. 
{Takes a sword from the Junior Lieut.) Mr. Nolan, 
ray father was a naval officer in the old days. This was 
his sword of ceremony. I have always valued it above 
all other of my possessions, but now I want you to have 
it.- {Gives it to Nolan.) 

Nolan. Sir — I — I {Breaks down.) It is no 

use ! I cannot speak. 

{Turns away; Lieut. Com. nods to Ensign.) 

Ensign. Now, boys! Make them good! 



28 THE MAN WITHOUT A COUNTRY 

Crew (cheering). Mr. Nolan! Mr. Nolan! Mr. 
Nolan ! 

Nolan. If you could understand what this means to 
me ! I shall never forget this day ! 

(Off stage, whistle of launch is heard.) 

Lieut. Com. The launch, Mr. Nolan! {Smiling at 
Nolan.) They are calling you. 

Nolan. I will get ready to leave at once. 

(Exit, L. ; officers exeunt r. ; part of crew exeunt R. 
and L.) 

Harry. Heaven! I hope the old chap gets his 
passage home ! 

Tom. He sure ought to all right, and he's hoping for 
it. He knows well enough his friends are trying to get 
him pardoned. 

DiGBY (entering r., waving a hunch of newspapers). 
Hello, boys ! 

All. Look who's here! Digby! As I live! Hello, 
boy! 

(They gather around him, clapping him on the shoulder 
and shaking hands. ) 

Digby (delighted). Well, if this isn't home, sweet 
home ! 

Tom. I should smile ! How do you like the Lexing- 
ton t 

Digby. All right, but believe me, I miss the bunch ! 

Joe. Not any more than we miss you. 

Digby. And the columns in the New York papers 
about this liT ship! Where's the hero? Who was it 
done the trick? 

Tom. Why, didn't you guess? It was Nolan! 

Digby. Well, I'll Say! I wondered why the 

papers didn't give a name ! I thought some of you fel- 
lows had developed into modest little violets. Nolan! 
Why, how did it happen? The poor old chap doesn't 
know his country is at war. 

Harry (scornfidly) . Oh, feed your grandmother on 
an egg diet ! Of course he knows we're at war ! Maybe 



THE MAN WITHOUT A COUNTRY 29 

he ain't heard it or seen it in so many words, but he's 
guessed it before this. He's a mighty bright man, if any 
one should ask you. 

Joe. Sure ! And he sees enough in the papers to put 
two and two together. Why, I heard Lieutenant Fairfax 
saying he didn't know what to cut from the newspapers. 
Pretty nearly all the news nowadays deals in some way 
with the United States. 

Harry. Are we in it ? I guess we are ! 

DiGBY. Well, tell me what really happened! These 

papers, you know {Crew all start to speak at the 

same time. ) Hold on ! Hold on ! One at a time ! You 
talk, Tom! You're good at yarning. 

Tom (throwing his chest out). Ahem! Well, it was 
this way. There was a scheme afoot to cut the telegraph 
cables that connect Cienfuegos with Havana and with 
Europe. We knew something was doing but of course 
had no idea what. The officers laid their plans and we 
slid into the harbor. Just as some of us had been picked 
for the launch, our four officers were all taken sick at the 
same time. Dropped right where they stood. Well, 
Nolan was on the job in a second. You know he's al- 
ways as good as two doctors and six nurses. He said 
they were poisoned and told us to tie up the cook. 
Nolan always suspected he was Spanish and that's just 
what he was, and he'd overheard the plans. Nolan told 
some of us what to do for the officers, and then ordered 
the picked men into the launch and he took command. 
(DiGBY makes an exclamation of surprise.) Yes, sir! 
Knew all the plans and carried them out ! You go on, 
Joe. You went in the launch. 

Joe. There isn't much to tell. We followed after 
Nolan and went within sixty feet of the beach. There 
was a heavy sea and we worked three hours under con- 
stant rifle fire from the shore troops. Nolan is the cool- 
est man under fire you ever saw. We cut two lines and 
had just found a third when the Spanish fire got so 
heavy we had to give it up. They shot Nolan through 
the hand and this liT ship wrecked the Cable Station. 

DiGBY. Three cheers ! The papers had it nearly right 
but what a shame not to give Nolan the credit. 



30 THE MAN WITHOUT A COUNTRY 

Harry. Go easy! Here he comes! 
Enter Nolan, l. 

I^^OLA-N (shakes hands with Digby). Well, Digby! It 
seems natural to see you again ! 

Digby. It seems natural to be here, Mr. Nolan. 

Nolan. Boys, some of you have been kind enough to 
take an interest in my note-books. I thought perhaps 
you would like to have me leave one with you. (Hands 
a book to Tom.) I think the History has interested you 
the most. 

Tom. Why, that's bully of you, Mr. Nolan! We'll 
every one of us read it ! 

All. That's right ! You bet we will ! 

Joe. Why, that book means hours and hours of work. 

Nolan. Not work. Pleasure I A man can't read all 
the time and my greatest enjoyment has been from my set 
of note-books. I have kept them all up, eight subjects. 

Digby (looking over Tom's shoulder as he turns over 
the pages). And look at the drawings! Mr. Nolan is 
a born artist. 

(They gather around Nolan and Tom, looking over 
the book; Lieut. Com. and Lieut. Mapleson 
enter, r.) 

Lieut. Com. (as they enter). I can't understand it. 
I was sure he would be pardoned. He has served his 
country. Why can't they make a return? He is grow- 
ing old and (Discovers Nolan.) Oh, there he is 

with the boys ! 

Lieut. Mapleson. Mr. Nolan (Steps toward 

group. Nolan steps forzvard, salutes; Mapleson shakes 
hands with him. ) You are going with me ? 

Nolan. When you say the word. 

Mapleson. I am proud that you are to be one of us, 
Mr. Nolan. 

Nolan. I thank you, sir. And — where — (tries to 
speak naturally) where are we going? 

Mapleson (gently). Away, Mr. Nolan, on govern- 
ment business. 

Nolan. Then we are not going 



THE MAN WITHOUT A COUNTRY 3 1 

{Chokes and stops.) 
Lieut. Com. Mr. Nolan — I am 



(Stops, unable to go on.) 

Nolan. Yes, I know. You are sorry for me. You 
are all sorry for me. You did your best for me. It is 
not your fault. I shouldn't have hoped for anything 
else. I deserve my fate. I brought it onto myself and 
I must go on to the bitter end — a man without a country ! 

CURTAIN 



SCENE V 



CHARACTERS 

Lieut. Commander. 
Junior Lieut. 
Ensign. 

Petty Officer. 
Members of Crew. 
Philip Nolan. 
Mate of the •' Arabia." 
Victims of U-boat include men, women, 
a child, a young Belgian. 

(Nolan is sevenly-six.) 



SCENE V 

SCENE. — Portion of lower deck of a U. S. Scout Ship, 
ipi6, at sea. Bring deck rail together at an angle c. ; 
if possible, narrow stairway leading ftp from l. front. 

(As curtain rises, crew are sitting around mending and 
reading the newspapers; one writing a letter.) 

Dick (reading newspaper over the shoulder of nearest 
neighbor). They're having a hot time over there all 
right ! 

. Bob. It'll be a hotter one when we get there ! 

Crew. Right-o ! Leave it to us ! 

Jack. When we get there — is good. 

Bob. We're going all right! Don't fret about that. 
We can't stay out. 

Crew (in a loud chorus) . We don't want to ! 

Dick. I bet we get the call before long. 

Tom. It'll sure be welcome when it comes! I'm 
dying to really do something. 

(Throws a book at the man who is writing letter.) 

John (looking up from letter). Now what in the 
deuce is that for? 

Tom. Time you quit ! Don't you think the poor girl 
has anything to do but read your scrawls ? Pipe up and 
cheer us up ! 

Bob. That's right, Johnny ! Give us the one about 
Betsy Ross and the flag she made. 

John. Where's Plain Buttons? 

Dick. In his room writing a lot of stuff about the 
habits of the mosquito and the house-fly ! 

Tom. Good-nighi! What a Hfe! 

Jack. It's too bad to call him Plain Buttons. It may 
have been all right when he was young. 

John. I didn't mean any disrespect to him. I like 
him as well as the rest of you do. I just can't drop the 

33 



34 



THE MAN WITHOUT A COUNTRY 



habit. This is the second time I've been on the ship 
with him. 

Bob. What in the deuce did he ever do ? 

John. You can search me ! I never heard any one 
say. I suppose he's about ready to die and people have 
stopped talking about him. It's enough that he's an exile 
from the good old U. S. A. 

Jack. You've said something. Tune up, Johnny! 

(John sings, crew joining in chorus, " The Beginning 
of the U. S. A.," or any patriotic song popular in 
igi6; at close of song a Petty Officer runs down 
the stairs.) 

Officer. Say! Do you fellows know what's hap- 
pened ? 

Crew. No! What? 

Officer. We've sighted a life-boat off here full of 
people ! 

(Goes to R. ; crew scramble up and follow to rail.) 

Jack (excited). Are we going to pick it up? 

Officer. What do you think? Suppose we'd pass 
it by? 

Bob. U-boat victims? 

Officer. Probably, and you fellows making such a 
rumpus down here you wouldn't know if you were tor- 
pedoed yourselves. 

Dick. By heaven, she's black with people ! 

(Lieut. Com., Junior Lieut, and Ensign run down 
the stairs; they are follozved more slowly by Nolan ; 
the crew step back and make way for the officers.) 

Ensign. Here they are, sir. 

(A number of the crew hurry down r. and exit.) 

Junior Lieut, (looking over rail). There are women ! 

Lieut. Com. And a child! A little golden-haired 
girl! (With a break in his voice.) I've a little one at 
home like that ! 

Nolan. My God, what kind of warfare is this? 
When women and little children are the victims? 



THE MAN WITHOUT A COUNTRY 35 

{Several of the crew enter from down R., bringing 
with them men, several women and a child. Nolan 
quickly takes the child in his arms; the Mate, who 
had charge of the life-boat, steps forward.) 

Mate. We are from the Arabia, sir. We were on 
the way to Liverpool. 

Lieut. Com. What happened? 

Mate. We encountered a submarine in mid-ocean. 
We had ten minutes to leave the ship. We saw them 
sink her. 

Lieut. Com. How long ago? 

Mate. Five days. 

Lieut. Com. And you have drifted ever since? All 
survive ? 

Mate. All but one. He was sick and he died the 
second day. (Glances at one of the women and speaks 
softly. ) His wife, sir. She's been out of her head ever 
since. 

A Man (with a faint attempt at a smile). I suppose 
we are in sight of food and a bed if not in sight of land. 

A Woman. The men haven't eaten for two days. 
They gave what there was to us women and to my little 
one. 

Lieut. Com, Great heaven! And I stand here and 
ask questions! Up-stairs! (To officers and several of 
the crew,) Help them. 

(A sailor takes the child from Nolan's arms and car- 
ries it up the stairs, followed by Ensign, Junior 
Lieut., and several of the crew helping the victims 
up the stairs.) 

A Young Belgian (eagerly to Lieut. Com.). Where 
are you bound, sir? 

Lieut. Com. Brazil. 

Belgian (with a despairing cry). No, no! Don't 
tell me that ! 

Lieut. Com. Where did you want to go? 

Belgian. Back to my country! To Belgium! 

All (with a murmur of sympathy) . Belgium? 



^6 THE MAN WITHOUT A COUNTRY 

Lieut. Com. Your home is in Belgium? 

Belgian. It was, sir. I haven't any home now. 
Those beasts out yonder burned it down the same day 
they shot my father. My brother was killed in action 
and I'm all there is left to care for my old mother, and 
God knows where she is. I've been working in your 
country, sir, for twelve years. Think of it, sir! It's 
twelve years since I saw my home, my people, my native 
land ! And now I was going back to find my mother and 
fight for my country ! There wasn't a minute to lose and 
they've made me lose five days! Curse 'em! {Breaks 
down. ) Curse 'em ! 

Lieut. Com. (putting his hand on the Belgian's 
shoidder). Brace up, lad! I'll take you to the Moun- 
tains of the Moon if necessary ! By heaven, I'll send this 
ship through the Great White Desert but I'll see that you 
go home ! 

Belgian. God bless you, sir ! 

(Belgian and Lieut. Com. exeunt by stairs.) 

Nolan {to the crew). Boys, let that show you what 
it is to be without family, without home, without a coun- 
try. And if you are ever tempted to say a word or to 
do a thing that shall put a bar between you and your 
family, your home and your country, pray God in His 
mercy to take you that instant home to His own heaven. 
Stick by your family, forget you have a self while you 
do everything for them. Think of your homes, boys; 
write and send and talk about them. Let home be nearer 
and nearer to your thoughts the farther you have to 
travel from it; and rush back to it when you are free, 
as that poor boy is doing now. And for your country, 
boys {chokes and then goes on), and for that flag, never 
dream a dream but of serving her as she bids you, though 
the service carry you through a thousand hells. No 
matter what happens to you, no matter who flatters you 
or who abuses you, never look at another flag, never let 
a ni.2:ht pass but you pray God to bless that flag. Re- 
member, boys, that behind all these men you have to do 
with, behind officers, and government, and people even. 



THE MAN WITHOUT A COUNTRY 37 

there is the Country Herself, your Country, and that 
YOU belong to Her as you belong to your own mother. 
Stand by Her, boys, as you would stand by your mother, 
if those devils out there got hold of her to-day ! 

CURTAIN 



SCENE VI 



CHARACTERS 

Philip Nolan. 
Austin Hastings. 
Doctor. 



{For tableau— Vkkck, Victory, Liberty, and Soldiers 
of the Aiites.) 

(Nolan and Hastings are seventy-eight.) 



. SCENE VI 

SCENE. — Nolan's quarters on Scout Ship, May ii, 
igi8, in an American port. This scene should be 
brought to the front of stage a little at one side; back- 
ground shoidd be dark curtains; a large map of the 
United States in 1861 is fastened to curtain, and an 
American flag of the same period is fastened over a 
picture of Washington held in place by an American 
eagle. A cot zuirh a stool near by; at head of cot a 
small table with Bible and prayer-books. 

(As curtain rises, Nolan lies on the cot; the ship's 
Doctor sits near him, his fingers on his pulse. ) 

Nolan. A little weaker each day, doctor. A little 
weaker each hour. 

Doctor {trying to speak cheerfidly). Now, Mr. 
Nolan 

Nolan {interrupting). You try to deceive me, and I 
love you for it, lad, but you are not a success. I under- 
stand. 

Doctor {looks away for a second; then speaks with 
an effort). Mr. Nolan, we made inquiries for your old 
friend. Lieutenant Hastings. 

Nolan {eagerly). Yes? 

Doctor. He is living. A retired army officer. 

Nolan. Living! Austin living! He was just about 
my age. We have done well, we two. 

Doctor. You would like to see him? 

Nolan. Nobody can realize how much but I under- 
stand how impossible such a thing would be. 

Doctor {taking a small tablet from a box and giving 
it to Nolan). I want you to take this, Mr. Nolan. I 
have a surprise for you and I want you to brace up a 
little. (^.9 Nolan slips the tablet into his mouth.) 
That's it ! Now if you will promise not to talk too much 
but let him do the talking, I'm going to send your old 
friend in to see you. {Rises.) 

39 



40 THE MAN WITHOUT A COUNTRY 

Nolan. What do you mean, lad ? 

Doctor. Just what I say. 

Nolan. But how 

Doctor. I will let hhn tell you. 

{He exits; Austin Hastings enters, a wonderfully 
preserved old man, erect, with firm step.) 

Nolan {looking at him zvonderingly) . Austin! 

Hastings (steps to the cot and takes both his hands). 
Nolan! My old friend! 

Nolan. I — I think this must be a dream. How — 
how is it possible for you to be here? 

Hastings. Because — they say I may tell you — be- 
cause you are in an American port. 

Nolan (trying to rise). You mean — you mean 

Hastings. Careful ! 

Nolan. I want to see out my window. (Hastings 
puts an arm about him; he half rises and looks off to l.) 
You mean that out there are American waters? That 
sandy beach — those green fields — my native land! 

Hastings. Yes. 

Nolan (dropping back on the cot). They have 
brought me home to die. Thank God for that. Austin, 
you will tell me now — it can do no harm ! 

Hastings. All that you want to know. 

Nolan. God bless you — but — wait ! Do not speak 
till I say what I am sure you know. Once you doubted 
my loyalty. You 

Hastings. Philip, don't go back, I beg of you. Try 
to forgive the selfishness, the egotism, the hardness of 
my youth. I have learned much in the years that have 
passed. H the thing happened to-day I could see it with 
different eyes. 

Nolan. There is nothing to forgive. You were 
right, but now you understand that there is not in this 
ship, that there is not in America, God bless her, a more 
loyal man than I. 

Hastings. Yes, I understand! 

Nolan. There cannot be a man who loves the old 
flag as I do, or prays for it as I do, or hopes for it as I 
do. There are many new stars in it now. I thank God 



THE MAN WITHOUT A COUNTRY 



41 



for that, though I do not know what their names are. 
There has never been one taken away. I thank God for 
that. Austin, you remember how I fell? A traitor to 
my country for the sake of personal fame. 

Hastings. Why go back? 

Nolan. I must. I want you to know all that I feel. 
Oh, how like a wretched night's dream a boy's idea of 
personal fame seems when one looks back on it after 
such a life as mine. And now across the water another 
is seeking to destroy the world for just such a reason — 
personal fame. Tell me, Austin, that our country is do- 
ing her part. I know it must be so for they never let 
me see a paper now. 

Hastings. Yes, you are right. We have answered 
the call of humanity, listened to the voice of Lafayette 
calling down through the ages, and to-day in France a 
million of our men are fighting. 

Nolan (joyously). Under the red, white and blue! 
Give me my flag, please. (As Hastings takes it down.) 
Here you see I had a country. 

(As Hastings gives him the flag.) 

" Breathes there a man with soul so dead, 
Who never to himself hath said — 
This is my own, my native land ! " 

(Nolan is silent for a second.) 

Who is our President? 

Hastings. Woodrow Wilson. 
Nolan. Is he 

(Stops and looks at Hastings eagerly.) 

Hastings. All the nation could ask and more. Three 
names are emblazoned on the pages of our history, on 
the hearts of our people — Washington ! Lincoln ! Wil- 
son ! With such a man at the head, with the prayers of 
our women, with the best of our manhood over there, 
while back here the heart of America beats for her youths 
at the front — we cannot fail ! 



42 THE MAN WITHOUT A COUNTRY 

Nolan. Never! The meaning of that word is un- 
known to — my country ! 

{The curtains open: Victory, Peace and Liberty are 
grouped together on a pedestal; below are grouped 
soldiers of the Allies; a hand plays the "Star 
Spangled Banner"; Nolan half rises, his flag 
clasped to his breast; Hastings stands by him sup- 
porting him and the two men gaze at the tableau as 
if at a vision of the future. ) 



CURTAIN 



I 



playing on the Carlton Springs summer base- 
ball team. 



CAUGHT OUT 

A Farce in Three Acts 

By H, Manley Dana 

Nine male, two female characters. Costumes, modern ; scenery, one 

interior. Plays an hour and a half. De Witt Boyd is jollied into making 

a foolish bet that he will propose to Bess Mason and be rejected. She 

overhears the plot and accepts him instead, thus getting both herself and 

him into all kinds of a mess. A baseball play, full of action and interest, 

recommended to high schools. Easy and effective ; free from royalty. 

Price^ ij cents 

CHARACTERS 
Bill Randolph 
Dick Rogers 
Jack Davis 
George Brown 
Kenneth Marsh 
Charlie King 
De Witt Boyd, manager of the team. 
Harry Wilkes, formerly an Amherst pitcher; now wanted to 

pitch on the Carlton team. 
Mr. Weaver, afflicted with sunstroke. Has come to Carltoit 

springs to take the cure. 
Bess Mason ) both staying at the Carlton 
Christabel Lee j Springs Hotel. 
Hotel Waiters. 

Remainder of team and substitutes, 

A TAKING WAY 

A Farce in One Act 
By Innis G. Osborn 
Four male, two female characters. Costumes, modern ; scenery, one 
interior. Plays forty-five minutes. Jacobus Harwinton, a newly-wed with 
a very jealous better half, gets by mistake into John Halsey's flat, taking 
it for that of a friend that has been loaned him for his honeymoon, and in- 
herits all of John's troubles, including Jennie, a very up-to-date typewriter, 
to say nothing of a casual burglar. Very swift and funny and strongly 
recommended. Price, 75 cents 

LOCAL AND LONG DISTANCE 

A Farce in One Act 
By H. Manley Dana 
One male, six female characters. Costumes, modern ; scenery, one in- 
terior. Plays half an hour. George Davis, home from Yale with a broken 
leg, is left in charge of the house for an hour of a rainy day, and thus 
anchored trouble revolves around him like a wheel, largely turned by the 
charming Kitty Parsons who takes this chance to be revenged upon him 
for a little slight. Irresistibly funny to all telephone users. Strongly 
recommended. Price, is cents 



MERRY MONEY MAKERS 

A Collection of Entertainments for Church or Lodge 
Performance, Adapted to any Sect or Community 
In this volume we have assembled several entertainments calling for a 
large number of characters such as are in demand for Church and Sunday- 
School performance in order to employ the services of as many of the 
children as possible. With these are offei-ed several other popular pieces, 
new and old. Price, 2 j cents 

CONTENTS 

Samantha Snodgrass and the Ladies' The Last of the Peak Sisters. 9 males. 

Aid. lofcmalcs. *] females. 

The Annual Picnic of the MuggsviUe The Rag Doll Party. 4 males, xo ft' 

Sunday-School. 16 males, a^ females. males. 

Beresford Benevolent Society, i male, The Summerville Bazar, ax males, 

T females. ^l females. 

The Emigrants' Party. 24 males, to fe- 
males. 

SHORT PLAYS FOR SMALL PLAYERS 

A Collection of Entertainments for Children of All Ages 
By Edith Burrows, Gladys Ruth Bridgham and others 
This volume offers eight entertainments, old and new, intended for the 
use of schools and carefully selected to that end. Cleanliness and dra- 
matic interest have been the chief criteria in selection, but the effort has 
also been made, where this could be done without obtruding it, to embody 
improving suggestion. The wise youngsters of this advanced generation 
scent a <' moral " afar off and are prone to repel its stern advances, but it 
is always possible to surround the pill of improvement with a palatable 
jam of fun. Price, 2^ cents 

CONTENTS 

The Key. 16 hoyt, 17 girls. Pat's Excuse, i boy, 1 girl. 

The Children's Hour. 7 boys, 12 girls. Grammar School Fun. 17 boys, aj girls. 

School Opera, 5 ^o;'^^ 3^«>/^- A Temperance Frolic. 3 boys, 2 girlt. 

Jack and the Beanstalk. 3 boys, 3 girls. and chorus. 

Bouauet of Rose Spirits. 8 boys, 18 

girls. 

CLEVER COMEDIES 

For Female Characters 
A Collection of Selected Entertainments for Ladies Only by 
Popular Authors 
This collection gives an admirable opportunity to make choice at a 
small cost of an entertainment for schools or amateur theatricals. All the 
pieces that it contains have been successful as independent books and are 
very varied in casts and character. Price, 2j cents 

CONTENTS 

A Corner in Strait-Jackets. 8 ladies Gaffer Grey's Legacy. 8 ladiet. 

and 3 children. The Governess. 3 ladies. 

The Dairy-Maids' Festival. Any The Grecian Bend. 7 ladies. 

number of young ladies. A Sad Mistake, t ladies and chorus. 

A Daughter-In-Law. 4 ladies. Slighted Treasures. 4 ladies. 

Eliza's Bona-Fide Offer. 4 ladies. To Meet Mr„ Thompson. 8 laditt. 



HALF HOURS OF VAUDEVILLE 

In arranging an entertainment for club, lodge, church or society, how 
often does the committee in charge find themselves with a half-hour on 
their hands, for which no suitable feature has been prepared. It is for 
just such occasions that this book has been arranged. The selections are 
all up to date, and have been written with the view of pleasing just such 
audiences. They can be played in any lodge room, church platform, or 
even in a parlor ; and while simple in construction, give ample opportunity 
for the display of histrionic talent. 

By Gordan V. May 
Price, 2^ cents 

CONTENTS 

Male Femalt 

One Little Shoe Dramatic Sketch . i i 

Just Notions Farcical " . i i 

After Many Years .... Dramatic *• . 2 2 

A Lesson In Love .... Comedy •' . i i 

The Baby Comedy " . i i 

The Baby . . . same as above, arranged for . 2 

Vengeance Is Mine .... Tragic Sketch . 2 

Dr. Dobbs' Assistant . • . Farcical " . 6 

For THE Sake OF A Thousand Comedy " .2 i 

Marinda's Beaus Comic Pantomime 2 i 

1750-1912 » 

CASTE 

An Original Comedy in Three Acts 
By r. IV. Robertson 
Four males, three females. Scenery, a single interior ; costumes^ 
modern. Plays a full evening. A reproduction of the famous Boston 
Museum prompt-book of this sterling play, containing all the customary 
"business" and interpolations used in the American theatre. Few plays 
give more even and varied opportunity to its actors or more effectively 
mingle humor and strong dramatic interest than this, and none ever en- 
joyed wider or more enthusiastic popularity at the time of its first pro- 
duction. Strongly recommended for amateur performance. 
Price, IJ cents 

TWO STRIKES 

A Baseball Comedy in Two Acts 

By Thacher Howland Guild 
Six males, one female. Costumes, modern ; scenery, two interiors. 
Plays an hour and a quarter. Originally produced by The Mask and 
Bauble Society of the University of Illinois, and highly recommended fot 
similar uses. Very easy to produce, all the parts of nearly equal oppor* 
tunity, dramatic interest unusually strong. Can be relied upon to please. 
Price^ 2S cents 



THE MAN WHO WENT 

( Originally produced under the title ' ' The Black Feather. ' ' ) 
A Play in Four Acts 
By IV. A. Iremayne 
Seven males, three females. Scenery, one interior and one exterior. 
Costumes, modern. Plays a full evening. Royalty, ^lo.oo for the first 
and ^5.00 each for other immediately succeeding performances. An ex- 
ceptionally stirring and effective play of the Great War, produced with 
great success in Canada as the successor of the popular " The Man Who 
Stayed at Home." Jack Thornton, a King's Messenger, entrusted with 
important state papers for delivery in Vienna, is robbed of them through 
his attachment to a lady in the Austrian secret service, and his career 
jeopardized; but by the cleverness and daring of Dick Kent, of the Eng- 
lish secret service, who is in love with his sister Evelyn, the plot is frus- 
trated in a series of thrilling scenes, and all ends well. An exceptionally 
well built drama, full of sensations, ending in a strong last act full of 
" punch." A good play for any purpose, but ideally suited to the temper 
of the present. Plenty of comedy, easy to stage, and confidently recom- 
mended. Price, s^ cents 

CHARACTERS 
Dick Kent, in the English Secret Service. 
Jack Thornton, a Kijigs Messenger. 
Baron Von Arnheim, in the German Secret Service. 
Sir George Caxton, in the British Foreign Office. 
HoGUE, a German spy. 
Barnes, a chauffeur. 
Patton, a keeper. 
Evelyn Thornton, Jack' s sister. 

Countess Wanda Von Holtzberg, in the Austrian Secret Service. 
Lady Venetia Caxton, Sir George s wife. 

The action of the play takes place in the early suminer of Jgi4. 

SYNOPSIS 

Act I. Jack Thornton's chambers in Portman Square, London. 
Dealing the cards. '• Beware of the dog." 

Act H. a retired corner of Sir George Caxton's estate in Kent. 
Dick takes the first trick. "The son of his father." 

Act III. Jack Thornton's chambers. A bold play. " Drive 
like the devil, Barnes — we've got to make Charing Crossby nine." 

Act IV. Jack Thornton's chambers. Dick wins the game. 
"Tightening the bonds of Empire." 

OUTWITTED 

A Comedy Dramatic Novelty 
By Harry L. Newton 
One male,' one female. Scene, an interior ; costumes, modern. Plays 
twenty minutes. Sherman, a United States Secret Service man, encoun- 
ters Sophie, supposed to represent the enemy, and a duel of wits ensues. 
Very exciting and swift in movement, with an unexpected ending. Good 
work and well recommended. Price, 2^ cetits 



Plays of The Waterloo Community Theatre 

THE MATRIMONIAL FOG 

A Society Drama in One Act 

By Florence Clay Knox 
Three males, one female. Costumes, modern ; scene, a veranda or 
room in a Country Club. Plays thirty-five minutes. Jack Dunlap, an 
expert in the art of flirtation, has foolishly agreed to give a " demonstra- 
tion " of his skill to Amy, the wife of a friend, Gerald Fox, with whom 
he is secretly in love and who has boasted that she has never been flirted 
with. He is shocked to receive from her, under the stimulation of his 
processes, proof of a wavering loyalty to Gerald. Gerald, who has agreed 
to undertake a perilous war service, is suddenly summoned to the task, 
and Jack, as the only way out of the entanglement, contrives to go in his 
place. A cleverly imagined and gracefully written little play of strong 
dramatic interest that can be warmly recommended to the best taste. 
Royalty for amateurs, ^5.00 for each performance. Price^ 2^ cents 

CHARACTERS 
Jack Dunlap, a young bachelor. Amy, his wife. 

Gkkxl.i:>Yox, a young married man. ^\\a.y , a bell hop. 

. THE POLICE MATRON 

A Drama in One Act 
By Carl Click and Mary Hight 
Three males, two females. Costumes, modern; scene, an interior. 
Plays thirty minutes. Frank Clemens and James Gordon, State's At- 
torney and Police Captain, are trying to ** get " Mary Casey, the Police 
Matron, who has become aware of their crookedness, when there comes 
into her hands professionally a lady arrested for shoplifting. They find 
her after this interview with a roll of bills in her hands and appearances 
much against her, but the tables are turned when the unknown woman 
turns out to be the wife of Clemens, the State's Attorney. A thrilling 
little play with lots of " punch," strongly recommended. Royalty for 
amateurs, ^5.00 for each performance. Price^ 2j cents 

CHARACTERS 

Frank Clemens, state's at- Mary Casey, police matron. 
torney. A Well Dressed Woman. 

James Gordon, police captain. An Attendant. 

THE BONE OF CONTENTION 

A Fairy Drama in One Act 
By Genevieve K. McConnell 
Three males, eight females. Scene, an interior; costumes, fanciful. 
Plays thirty-five minutes. A bright and amusing little allegory of the 
struggle between the old and the new practice of medicine, the " fairies " 
Fresh Air, Plain Food and Sound Sleep, combatting Medicine, Mustard 
and Bedclotlies to save the life of the Child. One of those bits of fancy 
that is able to ^muse children and adults equally, if from quite different 
angles of appreciation. Heartily recommended both as drama and doc- 
trine. Royalty for amateurs, I55.00 for each performance. 
Price, 2^ cents 



THE ADVENTURES OF GRANDPA 

A Farce in Three Acts 

By Walter Ben Hare 

Four males, five females. Costumes, modern ; scenery, one interior. 
Plays a full evening. No royalty. Monte Ray gets word from his 
grandpa, Otis Hammerhead, from whom he receives an allowance, that 
he is about to pay him a flymg visit. As one of the excuses that he has 
made to secure an increased income is that he has married, he has to have 
a " wife " to show, and borrows for the afternoon Lucy, the wife of a 
close friend. Tod Hunter, much against Tod's will. This answers very well 
for an hour or so, but when the house is quarantined because the cook has 
smallpox, and nobody is allowed to leave, matters get a little complicated. 
A screaming farce introducing dancing, if desired. Very easy, funny and 
up-to-date, and strongly recommended. 

Price, 2^ cents 

CHARACTERS 
Montgomery Ray (" Monte"), Grandpa s grajtd son. 
Tod Hunti':r, a young dancing master. 

Otis Hammerhead (" Grandpa "),froin Yellow Bud, Ohio. 
Officer McCormack, who seen his duty ajid done it. 
Lucy Hunter, our little wife. 
Dorothy MK\,just out of college. 
Mrs. Pansy Wovscotcu, fair, fat and forty. 
Marie Ribeau, the girl from Paris. 
Kloompy, twelve days from Copenhagen over. 

SYNOPSIS 

Act L — That afternoon. Grandpa arrives. Quarantined! 

Act H. — That night. Pansy almost breaks out, so does 
Grandpa. Smallpox ! 

Act hi. — The next morning. Kloompy spills the beans. 
Good-bye, Grandpa ! 

THE BURDEN 

A Play in One Act 

By Elma Ehrlich Levinger 

Three males, one female. Costumes, modern ; scene, an interior. 
Plays thirty minutes. This admirable little play won the first prize in 
The Sinai Center Prize Contest, in Chicago, and is strongly recommended 
to persons in search of high class material. Mendel Rabinowitz, a " good 
Jew," who has always obeyed " the law," is dependent upon his daughter, 
Sarah, and his son Isadore, who, emancipated by their " American " bring- 
ing up, find the law a burden and seek to be rid of their inconvenient 
parent, tlie one to marry, the other to better his business chances. The 
old man's struggle against these changes and the abhorrent conditions 
that they involve is intensely dramatic. A play of unusual power and 
pathos, strongly recommended to the best taste. Particularly recom- 
meaded to Jewish societies. Royalty, ^5.00 for each performance. 
" ^ Price, 2j cents 



I 



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^j Plays and Novelties 


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' Winners." ► 


J The Americana 


Males 


Females Tin 
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hrs. 


Trice 
250 
25c 

2i;c 


Royalty 9 

Free C 


^ Anita's Trial 




II 


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S Art Clubs are Trumps 




12 


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J A Case for Sherlocic Holmes 




10 


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2 The Farmerette 






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8 


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J Her First Assignment 




10 


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9 


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11 


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4 


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4 A King's Daughter 




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2 The Knitting Club Meets 




9 


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S A Lady to Call 




3 


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S Leave it to Polly 




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13 


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^ Miss Fearless & Co. 




10 


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16 


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3 


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16 


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4 The Thirteenth Star 




9 


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2 Twelve Old Maids 




15 


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8 




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« The Blow=Up of Algernon Blow 


8 




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2 The Boy Scouts 


20 




2 


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^ A Close Shave 


6 




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« The First National Boot 


7 


2 


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12 




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14 




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2 A Regular Scream 


II 




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2 Schmerecase in School 


9 




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2 What They Did for Jenkins 


14 




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2 Aunt Jerusha's Quilting Party 


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4 The District School at Blueberry 










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M Corners 


12 


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24 


10 


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10 


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2 A Pageant of History 


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2 




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J The Revel of the Year 


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% Scenes in the Union Depot 


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2 Taking the Census in Bingville 


14 


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T The Village Post=Office 


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LIBRARY °L9,|S|^^^ 

Q Q15 973 331 2 ^ 



Plays for Colleges and High Schools 





Males 


Females Time 


Price 


Royalty 


The Air Spy 


12 


4 


1/2 his. 


25c 


Special 


Bachelor Hall 


8 


4 


2 " 


25c 


J^S-oo 


The College Chap 


II 


7 


2/2 " 


25c 


Free 


The Colonel's Maid 


6 


3 


2 


25c 


<( 


Daddy 


4 


4 


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25c 


« 


The Deacon's Second Wife 


6 


6 


2/^ " 


25c 


M 


The District Attorney 


10 


6 


2 


25c 


« 


The Dutch Detective 


5 


5 


2 «• 


25c 


M 


An Easy Mark 


5 


2 


'A " 


15c 


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The Elopement of Ellen 


4 


3 


2 


25c 


« 


Engaged by Wednesday 


5 




^Y " 


25c 


« 


The Farmerette 




7 


2 " 


25c 


« 


For One Night Only 


5 


4 


2 •• 


15c 


« 


Hamilton 


II 


5 


2 " 


50c 


Special 


Higbee of Harvard 


5 


4 


2 " 


15c 


Free 


Hitty's Service Flag 




II 


iX •' 


25c 


(( 


The Hoodoo 


6 


12 


2 " 


25c 


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The Hurdy Gurdy Girl 


9 


9 


2 


25c 


K 


Katy Did 


4 


8 


114 " 


25c 


<f 


Let's Get Married 


3 


5 


2 « 


50c 


Special 


London Assurance 


lO 


3 


2 " 


15c 


Free 


Lost a Chaperon 


6 


9 


2 •' 


25c 


>( 


The Man from Brandon 


3 


4 


>^ " 


15c 


(( 


The Man Who Went 


7 


3 


2/2 " 


25c 


Special 


The Man Without a Country 


46 


5 


i>^ " 


25c 


Free 


Master Pierre Patelin 


4 


I 


'>^ " 


50c 


« 


Me and Otis 


5 


4 


2 " 


'5c 


(( 


The Minute Mao 




13 


i>^ " 


25c 


i< 


Mose 


II 


10 


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15c 


(i 


Mr. Bob 


3 


4 


i^ " 


15c 


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Mrs. Briggs of the Poultry Yard 


4 


7 


2 " 


25c 


II 


Nathan Hale 


ir 


4 


2/2 " 


50c 


$\O.QO 


Nephew or Uncle 


8 


3 


2 " 


25c 


Free 


Professor Pepp 


8 


8 


2)4 " 


25c 


11 


A Regiment of Two 


6 


4 


2 " 


25c 


« 


The Revenge of Sharl-Hot-Su 


3 


4 


I>^ " 


15c 


« 


The Rivals 


9 


5 


2^ " 


15c 


11 


The Romancers 


J 


I 


2 " 


25c 


« 


The Rose and the Ring 


16 


5 


ux " 


25c 


« 


Sally Lunn 


3 


4 


i;^ " 


25c 


<i 


The School for Scandal 


12 


4 


2>^ " 


15c 


(« 


She Stoops to Conquer 


15 


4 


2}i " 


15c 


«« 


Step Lively 


4 


10 


2 " 


25c 


« 


The Submarine Shell 


7 


4 


2 «« 


25c 


Special 


The Thirteenth Star 




9 


I>^ " 


25c 


Free 


The Time of His Life 


6 


3 


2>^ " 


25c 


K 


Tommy's Wife 


3 


5 


ij4 " 


25c 


II 


The Twig of Thorn 


6 


7 


1/2 •' 


60c 


II 



For 



special " royalties, see catalogue descriptions for 
detailed information. 



BAKER, 5 Hamilton Place, Boston, Mass* 



ft^ 



